Boston Symphony Orchestra Concert Programs, Season 80, 1960-1961

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Season 80, 1960-1961 5^ r r" GC^;;iN- ^ BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HIGGINSON |/f|\ f|S SANDERS THEATRE '^\|l Vl'fr 1 1 fc'^-^^ (Harvard University) 6C -^4^ iU EIGHTIETH SEASO 1960-1961 HIS DEDICATION AND INTERPRETIVE POWERS ARE MOVINGLY REVEALED IN FINEST LIVING STEREO ON RCAVictor records exclusively Other recent albums by Charles Munch and the Boston Symphony in Living Stereo and regular L.P.— Saint- Saens: Symphony No. 3; Beethoven: Symphony No. 3 ("Eroica"). Monophonic only— Ravel: Daphnis and Chloe. [2] EIGHTIETH SEASON, 1960-1961 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk The trustees of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Theodore P. Ferris John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Sidney R. Rabb C. D. Jackson Charles H. Stockton E. Morton Jennings, Jr. John L. Thorndike Henry A. Laughlin Raymond S. Wilkins Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen Lewis Perry Edward A. Taft Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 [S] Boston Symphony Orchestra (Eightieth Season, i960- 1961) CHARLES MUNCH, Music Director RICHARD BURGIN. Associate Conductor PERSONNEL Violins CrxLos Bassoons Richard Burgin Samuel Mayes Sherman Walt Concert-master Alfred Zighera Ernst Panenka Alfred Krips Jacobus Langendoen Theodore Brewster George Zazofsky Mischa Nieland Contra Bassoon Rolland Tapley Karl Zeise Joseph Sih'erstein Martin Hoherman Richard Plaster Vladimir Resnikoff Bernard Parronchi Horns Harry Dickson Richard Kapuscinski Stagliano Gottfried Wilfinger James Robert Ripley Charles Yancich Einar Hansen Winifred Winograd Joseph Leibovici Harry Shapiro Louis Berger Harold Meek Emil Kornsand John Sant Ambrogio Roger Shermont Paul Keaney Osbourne McConathy Minot Beale Basses Herman Silberman Georges Moleux Trumpets Stanley Benson Henry Freeman Leo Panasevich Roger Voisin Irving Frankel Sheldon Rotenberg Armando Ghitalla Henry Portnoi Fredy Ostrovsky Andre Come Henri Girard Noah Bielski Gerard Goguen John Barwicki Clarence Knudson Leslie Martin Trombones Pierre Mayer Ortiz Walton William Gibson Manuel Zung William Moyer Samuel Diamond Flutes Kauko Kahila William Marshall Doriot Anthony Dwyer Josef Orosz Leonard Moss James Pappoutsakis William Waterhouse Tuba Phillip Kaplan Alfred Schneider K. Vinal Smith Victor Manusevitch Piccolo Laszlo Nagy Timpani George Madsen Ayrton Pinto Everett Firth Michel Sasson Oboes Harold Farberman Lloyd Stonestreet Gomberg Julius Schulman Ralph Percussion de Vergie Raymond Sird Jean Charles Smith John Holmes Violas Harold Thompson Arthur Press Joseph de Pasquale English Horn Jean Cauhape Louis Speyer Harps Eugen Lehner Bernard Zighera Clarinets Albert Bernard Olivia Luetcke George Humphrey Gino Cioffi Jerome Lipson Manuel Valerio Piano Robert Karol Pasquale Cardillo Bernard Zighera Reuben Green E\) Clarinet Bernard Kadinoff Library Vincent Mauricci Bass Clarinet Victor Alpert Earl Hedberg Rosario Mazzeo William Shisler Joseph Pietropaolo [4] EIGHTIETH SEASON • NINETEEN HUNDRED SIXTY- SIXTY-ONE Fifth Program TUESDAY EVENING, April i8, at 8:30 o'clock Schumann Overture to "Genoveva" Mendelssohn Octet for Strings, in E-flat major, Op. 20 I. Allegro moderate ma con fuoco II. Andante III. Scherzo: Allegro leggierissimo IV. Presto INTERMISSION Beethoven Symphony No. 4, in B-flat major. Op. 60 I. Adagio; Allegro vivace II. Adagio III. Allegro vivace IV. Allegro, ma non troppo BALDWIN PIANO rCA VICTOR RECORDS [5] OVERTURE TO THE OPERA "GENOVEVA," Op. 81 By Robert Schumann Bom in Zwickau, Saxony, June 8, 1810; died in Endenich, near Bonn, July 29, 1856 Genoveva, an opera in four acts to a text of Robert Reinick rewritten by the composer, was composed in 1847 and first performed at Leipzig, June 25, 1850. The opera was produced in various opera houses of central Europe in the seventies and eighties. It has been rarely performed in the present century. The overture was performed at the Gewandhaus concerts in Leipzig, February 25, 1850, at a pension fund concert conducted by Schumann. It was performed for the first time in Boston at a concert of the Harvard Musical Association, March 1, 1866. It was first played at the concerts of the Boston Symphony Orchestra, March 10, 1883. The overture requires 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani and strings. COMPOSERS like Schubert, Schumann, Mendelssohn or Brahms, lack- ing a sufficient instinct for the theater, sometimes nourished secret or avowed ambitions to compose operas, that broad avenue to possible fame and fortune. Schubert made attempts, while the self-critical Mendelssohn and Brahms knew better than to step out of the chamber or concert hall where they were in their own element. Schumann with his literary turn of mind tried once to achieve an opera, and put his heart into a single, protracted effort. He had written to Griepenkerl as early as 1842, "Do you know what is my morning and evening prayer as an artist? German opera. There's a field for work." Schumann played with thoughts of various famous subjects which have since been treated by others: Maria Stuart, Till Eulenspiegel, Faust, the Nihel- ungenlied, Sakuntala. When he asked Reinick in 1847 ^^ make a libretto out of the drama of Genoveva, he was aware of Tieck's drama, Leben und Tod der Heiligen Genoveva, and Hebbel's drama Genoveva [6] of 1843. He reshaped Reinick's libretto to his musical purposes and called upon Hebbel to help solve his difficulties, but Schumann in 1847 was morose and uncommunicative, and Hebbel, visiting him in Dres- den, departed baffled. Schumann, who had recently listened to a read- ing by Wagner of his projected Lohengrin without understanding how such a text could be set to music at all, was at last compelled to work out his own quite by himself. According to a tale in Voragine's Golden Legend of the 13 th century, retold by later doctors of theology, Genevieve, the daughter of the Duke of Brabant, is plotted against in her husband's absence by his steward, Golo. She is falsely accused of infidelity, banished into the forests and only after many years exonerated. The story of Schumann's opera is more involved although still based on the pique of the central villain, Golo, when the heroine has (in libretto English) "resisted his amorous importunities." There are dire sub-plots which fail in the end before the abiding virtues of the steadfast wife, Genoveva, while Golo is at last seen to jump from a cliff in despair. Philip Hale, discussing this opera in his program notes, decided that Schumann, "a Romanticist, did not appreciate nor recognize the value of a dramatic subject. In his revision of the text, he did not individualize sharply his characters. Golo is an ordinary villain of melodrama, Genoveva is a good and tiresome person, Siegfried [the husband] is a ninny. The music, however beautiful or noble it may be, lacks the most essential quality: it is never dramatic." BOCA GRANDE PALM BEACH (oO^CMAwJfil^ INC. The Ritz Carlton Hotel Pretty Clothes for All Occasions MANCHESTER WATCH HILL BRIGGS & BRIGGS, INC. presents on RCA VICTOR RECORDS BERLIOZ REQUIEM CHARLES MUNCH with the BOSTON SYMPHONY ORCHESTRA ALL BOSTON SYMPHONY RECORDINGS available at BRIGGS & BRIGGS, INC. 1270 MASS. AVE. HARVARD SQUARE Opp. Widener Library KI 7-2007 [7] Yet it should be noted that Schumann could be intensely dramatic in a symphonic sense and that the overtures to such works as Genoveva and Manfred attain their purposes with fine certainty and have accordingly found a place in concert halls. Mr. Hale in his interesting note, gives a formidable list of composers who have treated the subject of the virtuous Genevieve, including Haydn (in an opera for marionettes), Piccini, Huttenbrenner (remembered as the friend of Schubert), and many others long since forgotten. Offenbach contributed music to "a reckless and impudent parody" produced in Paris in 1867. "The censor objected, not to the indecencies of the text, not to the degradation of the pure Genevieve of the old legend, but to a duet on the ground that the gendarmerie should not be ridiculed." The difficulty was solved when the character of the gendarme was raised to the rank of sergeant. Schumann submitted his opera to Leipzig, but was forced to wait through three years of postponements before it was finally mounted. Much was made of the event, friends gathered from far and wide. The retiring Schumann was acutely embarrassed at the friendly demonstra- tion, especially when he was dragged out upon the stage and, according to the custom of the time, a laurel wreath was placed upon his head. There were three performances and the opera was shelved. [copyrighted] SCHOENHOF'S, INC. foreign B^oks 1280 Massachusetts Avenue Harvard Square, Cambridge Exclusive Headquarters of Assimil Language Record Courses Grammars and Dictionaries for 100 Languages LiBRAiRiE Francaise; All French Books, Classical and Modern Fine Pictures — Custom Framing on Premises — Moderately Priced CAMBRIDGE TRUST COMPANY Complete Banking Facilities HARVARD SQUARE Member Federal Deposit Insurance Corporation [8] OCTET FOR STRINGS, in E-flat major, Op. 20 By Felix Mendelssohn-Bartholdy Born in Hamburg, February 3, 1809; died in Leipzig, November 4, 1847 Mendelssohn composed his String Octet in 1825. The parts, all individual, consist of 4 violins, 2 violas and 2 cellos. It was performed by the string sections of this Orchestra November 7, 1885, and again on November 26, 1920. The composer made an orchestration of the Scherzo for London in 1829, when he conducted his "First" Symphony in C minor there and inserted this in place of the existing third movement. The orchestration calls for wood winds in pairs, horns, trumpets, timpani and strings. A PREFATORY notc by the composer on the score of the Octet indicates -^"^ the suitabiHty of this music for larger forces: "This Octet must be played by all instruments in symphonic style.
Recommended publications
  • Boston Symphony Orchestra Concert Programs, Season 94, 1974-1975
    THE FRIENDS OF THE COLLEGE Presents BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA, Music Director COLIN DAVIS, Principal Guest Conductor Ninty-fourth Season Monday evening, November 18, 1974 Tuesday evening, November 19, 1974 SEIJI OZAWA, Conductor William Neal Reynolds Coliseum 8 P.M. PROGRAM Le tombeau de Couperin Maurice Ravel Prelude Forlane Menuet Rigaudon Ostensibly this music represents neoclassic expression in its purest distillate. And it was, indeed, conceived as a pianistic idealization of the clavecin aesthetic exemplified by Francois Couperin le Crand. But that was in the fateful summer of 1914, and even Ravel's sleepy St. Jean-de-Luz was traumatized by the news of Archduke Francis Ferdinand's assassination at Sarajevo. France mobilized overnight, and by August was at war. By then the sketches for Le tombeau de Couperin were in a desk drawer. When he returned to them three wretched years later the composer was a very different man, broken in health and shattered emotionally by the loss of his mother, who had died barely a week after his medical discharge. Thus it was that the six movements became as many 'tomb- stones' (each one inscribed separately) for friends and regimental comrads who had been killed on the Western Front. As a work for solo piano—Ravel's last, incidentally—Le tombeau was not a notable success. Strictly speaking it could not have been because it marked a stylistic retrogression after the harmonic leaps forward in the Valse nobles et sentimentales and Gas-pard de la nuit. But fortu- nately that was not the end of the matter.
    [Show full text]
  • Boston Symphony Orchestra
    ABRAHAM cf ..."' c ="' HOODS UP TO THE AMERICAN WAY WITH WOOL Blanket plaid ... toggle terrific, either way you coat it this fall ... A&S says do it with pure wool fabric made in America! PURE WOOL® "The Wool mark is your assurance of a quality tested product made of pure wool" -----------------------------------OCTOBER, 1971 I BROOKLYN ACADEMY OF MUSIC I 3 Thursday Evening, October 28, 1971 , 8:30 p.m. Subscription Performance The Brooklyn Institute of Arts and Sciences presents the Boston Symphony Orchestra \X:'illiam Steinberg, Music Director Michael Tilson Thomas, Associate Conductor Michael Tilson Thomas, Conducting Polonaise and Krakoviak from 'A Life for the Tsar' MIKHAIL GLINKA Symphony in C IGOR STRAVINSKY Mode.rato alia breve Larghetto concertante Allegretto Largo - tempo giu sto, alia breve IN TERMISSION Concerto for flute, oboe, piano and percussion EDISON DENISOV Overture: allegro moderato Cadenza: Iento rubato - allegro Coda: allegro giusto DORIOT ANTHONY DWYER, flute RALPH GOMBERG, oboe GILBERT KALISH, piano EVERETT FIRTH, percussion Symphony No. 2 in B minor, Op. 5 ALEXANDER BORODIN Allegro Scherzo: prestissimo - allegretto Andante Finale: allegro The Boston Symphony Orchestra records exclusively for Deutsche Grammophon. BALDWIN PIANO DEUTSCHE GRAMMOPHON AND RCA RECORDS 4 I BROOKLYN ACADEMY OF MUSIC I OCTOBER, 1971 The Brooklyn Academy of Mus 1 c The t. Felix Street Corporation Administrative Staff Board of Directors : Harvey Lichtenstein, Director Seth S. Faison, Chairman Lewis L. Lloyd, General Manager Donald M. Blinken, President John V. Lindsay, Honorary Chairman Charles Hammock, Asst. General Manager M arti·n P. Carter Jane Yackel, Comptroller Barbaralce Diamonstein Thomas Kerrigan, Assistant to the Director Mrs.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 83,1963-1964, Trip
    BOSTON • r . SYMPHONY ORCHESTRA FOUNDED IN 1881 BY /'I HENRY LEE HIGGINSON TUESDAY EVENING 4 ' % mm !l SERIES 5*a ?^°£D* '^<\ -#": <3< .4) \S? EIGHTY-THIRD SEASON 1963-1964 TAKE NOTE The precursor of the oboe goes back to antiquity — it was found in Sumeria (2800 bc) and was the Jewish halil, the Greek aulos, and the Roman tibia • After the renaissance, instruments of this type were found in complete families ranging from the soprano to the bass. The higher or smaller instruments were named by the French "haulx-bois" or "hault- bois" which was transcribed by the Italians into oboe which name is now used in English, German and Italian to distinguish the smallest instrument • In a symphony orchestra, it usually gives the pitch to the other instruments • Is it time for you to take note of your insurance needs? • We welcome the opportunity to analyze your present program and offer our professional service to provide you with intelligent, complete protection. invite i . We respectfully* your inquiry , , .,, / Associated with CHARLES H. WATKINS CO. & /qbrioN, RUSSELL 8c CO. Richard P. Nyquist — Charles G. Carleton / 147 milk street boston 9, Massachusetts/ Insurance of Every Description 542-1250 EIGHTY-THIRD SEASON, 1963-1964 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. Hatch Mrs.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 93, 1973-1974
    BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-THIRD SEASON 1973-1974 THURSDAY A6 FRIDAY-SATURDAY 22 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President PHILIP K. ALLEN SIDNEY STONEMAN JOHN L. THORNDIKE Vice-President Vice-President Treasurer VERNON R. ALDEN MRS HARRIS FAHNESTOCK JOHN T. NOONAN ALLEN G. BARRY HAROLD D. HODGKINSON MRS JAMES H. PERKINS MRS JOHN M. BRADLEY E. MORTON JENNINGS JR IRVING W. RABB RICHARD P. CHAPMAN EDWARD M. KENNEDY PAUL C. REARDON ABRAM T. COLLIER EDWARD G. MURRAY MRS GEORGE LEE SARGENT ARCHIE C EPPS III JOHN HOYT STOOKEY TRUSTEES EMERITUS HENRY B. CABOT HENRY A. LAUGHLIN PALFREY PERKINS FRANCIS W. HATCH EDWARD A. TAFT ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA THOMAS D. PERRY JR THOMAS W. MORRIS Executive Director Manager PAUL BRONSTEIN JOHN H. CURTIS MARY H. SMITH Business Manager Public Relations Director Assistant to the Manager FORRESTER C. SMITH DANIEL R. GUSTIN RICHARD C. WHITE Development Director Administrator of Assistant to Educational Affairs the Manager DONALD W. MACKENZIE JAMES F. KILEY Operations Manager, Operations Manager, Symphony Hall Tanglewood HARRY NEVILLE Program Editor Copyright © 1974 by Boston Symphony Orchestra Inc. SYMPHONY HALL BOSTON MASSACHUSETTS ^H jgfism SPRING LINES" Outline your approach to spring. In greater detail with our hand- somely tailored, single breasted, navy wool worsted coat. Subtly smart with yoked de- tail at front and back. Elegantly fluid with back panel. A refined spring line worth wearing. $150. Coats. Boston Chestnut Hill Northshore Shopping Center South Shore PlazaBurlington Mall Wellesley BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-THIRD SEASON 1973-1974 THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 108, 1988-1989
    9fi Natl ess *£ IH f iMMHHl BOSTON SYMPHONY CHAMBER PLAYERS Sunday, February 5, 1989, at 3:00 p.m. at Jordan Hall BOSTON SYMPHONY CHAMBER PLAYERS Malcolm Lowe, violin Harold Wright, clarinet i j Burton Fine, viola Sherman Walt, bassoon Jules Eskin, cello Charles Kavalovski, horn M Edwin Barker, double bass Charles Schlueter, trumpet SH gK£*!S Doriot Anthony Dwyer, flute Ronald Barron, trombone m Wm Alfred Genovese, oboe Everett Firth, percussion with guest artists GILBERT KALISH, piano LAWRENCE ISAACSON, trombone clarinet PRESS, percussion PETER HADCOCK, ARTHUR ^flilHH lH mi* '^.v.' RICHARD PLASTER, bassoon FRANK EPSTEIN, percussion Ml . TIMOTHY MORRISON, trumpet ROSEN, celesta JEROME JH H Hi BSS LEON KIRCHNER, conductor Hi PISTON Quintet for Wind Instruments aflMnCc HH H #Bt«3P'j Hi HI Animato Con tenerezza Scherzando Allegro comodo Ms. DWYER, Mr. GENOVESE, Mr. HADCOCK, Mr. WALT, and Mr. KAVALOVSKI KIRCHNER Concerto for Violin, Cello, Ten Winds, and Percussion (in two movements) Messrs. LOWE and ESKIN; Ms. DWYER; Messrs. GENOVESE, HADCOCK, WALT, PLASTER, KAVALOVSKI, SCHLUETER, MORRISON, BARRON, ISAACSON, FIRTH, PRESS, EPSTEIN, and ROSEN LEON KIRCHNER, conductor HI Hi^HB OTH INTERMISSION HHHH FAURE Quartet No. 1 in C minor for piano and strings, Opus 15 WtmHHSSm Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro molto I Messrs. KALISH, LOWE, FINE, and ESKIN -BHHHflntflElflfli • <&& Baldwin piano Nonesuch, DG, RCA, and New World records tSHHIS WHliHill The Boston Symphony Orchestra gratefully acknowledges the support of the National Endow- &<- ment for the Arts, and of the Massachusetts Council on the Arts and Humanities, a state agency. Walter Piston Quintet for Wind Instruments Early in his career, Walter Piston began a woodwind quintet that he left unfinished in frustration at the inherent technical problems of the medium—the recalcitrant indi- viduality of the five voices, with their different techniques and their very different sonorities, which could never quite be made to blend.
    [Show full text]
  • Ronald Roseman: a Biographical Description and Study of His Teaching Methodology
    LAMPIDIS, ANNA, D.M.A. Ronald Roseman: A Biographical Description and Study of his Teaching Methodology. (2008) Directed by Dr. Mary Ashley Barret. 103 pp. Ronald Roseman was an internationally acclaimed oboe soloist, chamber musician, teacher, recording artist, and composer whose career spanned over 40 years. A renowned oboist, he performed in some of America’s most influential institutions and ensembles including the New York Woodwind Quintet, the New York Philharmonic, and the New York Bach Aria Group. His contributions to 20th Century oboe pedagogy through his own unique teaching methodology enabled him to contribute to the success of both his own personal students and many others in the field of oboe and woodwind performance. His body of compositions that include oboe as well as other instruments and voice serve to encapsulate his career as a noteworthy 20th Century composer. Roseman’s musicianship and unique teaching style continues to be admired and respected worldwide by oboists and musicians. The purpose of this study is to present a biographical overview and pedagogical techniques of oboist Ronald Roseman. This study will be divided into sections about his early life, teaching career, performance career and his pedagogical influence upon his students. Exercises and techniques developed by Roseman for the enhancement of oboe pedagogy will also be included. Interviews have been conducted with his wife and three former well-known students in order to better serve the focus of this study. The author also contributed pedagogical techniques compiled during a two-year period of study with Roseman. Appendices include a discography of recorded materials, the New York Woodwind Quintet works list, Roseman’s published article on Baroque Ornamentation, a list of his compositions with premiere dates and performers, and interview questions.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1976
    "£r -# ^ f ^ *Lik«*«* - • A ?8t aw**- - _.; ^ 1 If ittCll II 4 * I ^'3 \0 *&>--£ >-- ,*£- 1 - Jfe- . $ ^A '-*. ) £ _-' -f . ^ For 104 years we've been serious about people who make music. In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 104 years later the Boston University School of Music is still doing what it does best. • Performance • Music Education • History and Literature • Theory and Composition strings music history and literature Walter Eisenberg, violin 'Charles Kavaloski, French horn Karol Berger * Gerald Gelbloom, violin Charles A. Lewis, Jr., trumpet Murray Lefkowitz "Bernard Kadinoff, viola 'David Ohanian, French horn Joel Sheveloff Endel Kalam, chamber music Samuel Pilafian, tuba theory and composition ' Robert Karol, viola ' Rolf Smedvig, trumpet David Carney ' Alfred Krips, violin Harry Shapiro, French horn David Del Tredici 'Eugene Lehner, chamber music ' Roger Voisin, trumpet John Goodman Martin, string bass 'Charles Yancich, French horn 'Leslie Alan MacMillan George Neikrug, cello percussion Joyce Mekeel ' Mischa Nieland, cello 'Thomas Gauger Malloy Miller Leslie Parnas, cello 'Charles Smith Gardner Read 'Henry Portnoi, string bass Allen Schindler 'Jerome Rosen, violin harp Tison Street Kenneth Sarch, violin Lucile Lawrence ' Alfred Schneider, violin music education 'Roger Shermont, violin piano Lee Chrisman 'Joseph Silverstein, violin Maria Clodes Allen Lannom Roman Totenberg, violin Anthony di Bonaventura
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 81, 1961-1962
    I ! w>- I A| JjL, ill ^2y „, j V - -IvV % :>-. ^"; -""~^S> r BOSTON f % SYMPHONY if ORCHESTRA ' A / FOUNDED IN 1881 BY ,<# HENRY LEE HIGGINSON jf% / \M6r \W f - • -• 4 /rsL^i/Wlllwfi'r* ' "^ ///?£? Hinull _ & ws»~^ ^W^-^x ~ :" ~ '--'' '...<- '}/ - 41^.-.. C-- y - --. f — ^ . X. «8sS> J EIGHTY-FIRST SEASON 1961-1962 '$,.*» LENOX, MASSACHUSETTS TANGLEWOOD 1962 The Boston Symphony Orchestra CHARLES MUNCH, Music Director The Berkshire Festival Twenty-fifth Season CHARLES MUNCH, Conductor 8 Weeks, Beginning July 6 The Berkshire Music Center Twentieth Season CHARLES MUNCH, Director For full information, address T. D. Perry, Jr., Manager, Symphony Hall, Boston, Mass. EIGHTY-FIRST SEASON, 1961-1962 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Theodore P. Ferris John T. Noonan Francis W. Hatch Sidney R. Rabb Harold D. Hodgkinson Charles H. Stockton C. D. Jackson John L. Thorndike E. Morton Jennings, Jr. Raymond S. Wilkins Henry A. Laughlin Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen Lewis Perry Edward A. Taft Palfrey Perkins Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 [3] Boston Symphony Orchestra (Eighty-first Season, 1961-1962) CHARLES
    [Show full text]
  • Model Musician Sounds Provided By: Jim Matthews Who Are YOUR
    Model Musician Sounds Provided by: Jim Matthews Who are YOUR models for music? Which performing artists do YOU listen to? Who do you play for your students as a STANDARD - model of excellence? This certainly is NOT a complete list as there are many models which are not listed. This is simply a start. Flute - Emmanuel Pahud, Andreas Blau, Sharon Bezaly, Julius Baker, Jean-Pierre Rampal, James Galway, Ian Clarke, Thomas Robertello, Mimi Stillman, Aurele Nicolet, Jasmine Choi, Paula Robison, Andrea Griminelli, Jane Rutter, Jeanne Baxtresser, Sefika Kutluer, Jazz: Hubert Laws, Nestor Torres, Greg Patillo (beatbox), Ian Anderson (Jethro Tull), Herbie Mann, Dave Valentine, Oboe - Albrecht Mayer, Marcel Tabuteau, John Mack, Joe Robinson, Alex Klein, Eugene Izotov, Heinz Holliger, Elaine Douvas, John de Lancie, Andreas Whitteman, Richard Woodhams, Ralph Gomberg, Katherine Needleman, Marc Lifschey, David Weiss, Liang Wang, Francios Leleux, Bassoon - David McGill, Arthur Grossman, Klaus Thunemann, Dag Jensen, Joseph Polisi, Frank Morrelli, Judith LeClair, Breaking Winds Bassoon Quartet, Albrecht Holder, Milan Turkovic, Gustavo Nunez, Antoine Bullant, Bill Douglas, Julie Price, Asger Svendsen, Carl Almenrader, Karen Geoghegan, Clarinet - Sabine Meyer, Julian Bliss, Andrew Mariner, Martin Frost, Larry Combs, Stanley Drucker, Alessandro Carbonare, John Manasse, Sharon Kam, Karl Leister, Ricardo Morales, Jack Brymer, Yehuda Gilad, Harold Wright, Robert Marcellus, Richard Stoltzman, Jazz: Benny Goodman, Artie Shaw, Paquito D’Rivera, Eddie Daniels, Pete
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 80, 1960-1961
    ^ BOSTON SYMPHONY ORCHESTRA IN HENRY LEE HIGGINSON ALUMNAE HALL l>^^. (Wellesley College) li(IHMIUl(|i EIGHTIETH SEASON 1960-1961 — l^iuAicli/ HIS DEDICATION AND INTERPRETIVE POWERS ARE MOVINGLY REVEALED IN FINEST LIVING STEREO ON RCAVictor records exclusively Other recent albums by Charles Munch and the Boston Symphony in Living Stereo and regular L.P. — Saint*^ Saens: Symphony No. 3; Beethoven : Symphony No. 3 ("Eroica"). Monophonic only Ravel: Daphnis and Chloe. EIGHTIETH SEASON, 1960-1961 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot • President Richard C. Paine • Treasurer Talcott M. Banks Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Charles H. Stockton CD. Jackson Raymond S. Wilkins E. Morton Jennings, Jr. Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Thomas D. Perry, Jr., Manager S. Shirk Norman James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 [3] Boston Symphony Orchestra (Eightieth Season, i960- 1961) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Cellos Bassoons Richard Burgin Samuel Mayes Sherman Walt Concert-master Alfred Zighera Ernst Panenka Alfred Rrips Jacobus Langendoen Theodore
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 92, 1972-1973
    1 H Shfcfti* Bin wVE S££3Wm si Eh! 0*r HKs& Bp9 *rjtti Kan ^- 1 Btjfe^r ? "T* 1- - 1 ^OtnL *3r hew fe^Sl madUs g 1 JEST-* 1 The Boston Symphony Orchestra presents the one hundred and fifty-eighth PENSION FUND CONCERT ALEXIS WEISSENBERG mm of 19 members the %.:* BOSTON SYMPHONY CHAMBER PLAYERS lllW'ln ii BOSTON SYMPHONY ORCHESTRA ngui^ • SEIJI OZAWA Music Adviser ITTirpilnr .r^n BSem IK and Bflh 4H SEIJI OZAWA Sunday evening February 18 1973 SYMPHONY HALL BOSTON MASSACHUSETTS «£££ y$& ^H » K ws> • *.*u -To'v-' H << «. Kfl Baal 21V, ffflfffll %c* Sunday evening February 18 1973 at 6.30 The first concert in the Cabot-Cahners Room ALEXIS WEISSENBERG piano MEMBERS OF THE BOSTON SYMPHONY CHAMBER PLAYERS RALPH GOMBERG oboe HAROLD WRIGHT clarinet SHERMAN WALT bassoon CHARLES KAVALOSKI horn BEETHOVEN Quintet in E flat for piano and winds op. 16 Grave - allegro ma non troppo Andante cantabile Rondo: allegro ma non troppo Alexis Weissenberg plays the Steinway piano THE BOSTON SYMPHONY CHAMBER PLAYERS RECORD EXCLUSIVELY FOR DEUTSCHE GRAMMOPHON BALDWIN PIANO DEUTSCHE GRAMMOPHON & RCA RECORDS THE BOSTON SYMPHONY PENSION INSTITUTION The Boston Symphony Pension Institution, established in 1903, is the oldest among American symphony orchestras. During the past few years the Pension Institution has paid annually over 400,000 dollars to nearly one hundred pensioners and their widows. Pension Institution income is derived from Pension Fund concerts, from open rehearsals in Sym- phony Hall and at Tanglewood and from radio broadcasts, for which the members of the Orchestra donate their services. Contributions are also made each year by the Boston Symphony Orchestra, Inc.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 79, 1959-1960
    BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON SEVENTY-NINTH SEASON 1959-1960 Sanders Theatre, Cambridge [Harvard University] Boston Symphony Orchestra (Seventy-ninth Season, 1959-1960) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Cellos Bassoons Richard Burgin Samuel Mayes Sherman Walt Concert-master Alfred Zighera Ernst Panenka Alfred Krips Jacobus Langendoen Theodore Brewster George Zazofsky Mischa Nieland Rolland Tapley Karl Zeise Contra Bassoon Joseph Silverstein Martin Hoherman Richard Plaster Vladimir Resnikoff Bernard Parronchi Harry Dickson Richard Kapuscinski Horns Gottfried Wilfinger Robert Ripley James Stagliano Einar Hansen Winifred Winograd Charles Yancich Joseph Leibovici Louis Berger Harry Shapiro Emil Kornsand John Sant Ambrogio Harold Meek Roger Shermont Paul Keaney Minot Beale Osbourne McConathy Herman Silberman Basses Georges Moleux Stanley Benson Trumpets Leo Panasevich Henry Freeman Roger Voisin Sheldon Rotenberg Irving Frankel Armando Ghitalla Fredy Ostrovsky Henry Portnoi Andre Come Noah Bielski Henri Girard Gerard Goguen John Barvvicki Clarence Knudson Leslie Martin Pierre Mayer Trombones Ortiz Walton Manuel Zung William Gibson Samuel Diamond William Flutes Moyer William Marshall Kauko Kahila Doriot Anthony Dwyer Leonard Moss Josef Orosz William Waterhouse James Pappoutsakis Alfred Schneider Phillip Kaplan Tuba Victor Manusevitch K. Vinal Smith Laszlo Nagy Piccolo Ayrton Pinto George Madsen Timpani Michel Sasson Everett Firth Lloyd Stonestreet Oboes Harold
    [Show full text]